This thesis is an ethnomusicological examination of the development of indigenous worship music in Garhwal; a region in Northern India. It focuses on a comparative aspect so as to draw conclusions regarding the elements of music that is identified as Garhwali. It includes a melodic analysis of Garhwali Christian songs written by Rajesh Dongriyal and songs recorded by young women at two Garhwali villages. The theoretical framework is based upon the need of every group of people to have music about Christ in their own language and style of music. The assumption is that this will serve as a powerful tool in sharing with others, particularly those who are illiterate, the Truth of the Bible transmitted through an acceptable medium. The purpose is to eliminate stereotypes such as Western associations and attachments that have been a hinderance for those who were offered translated Western hymns.
The thesis begins with an overview of the research citing the significance, purpose and limitations of the research. From there, a snapshot of the development of indigenous worship music in North India among the Catholic and Protestant Churches are recounted. A melodic and linguistic analysis are offered to surmise the indigenous qualities of the songs collected from the village as well as those Christian Garhwali songs written by Rajesh Dongriyal. Indications for further research are needed to sustain and confirm any conclusions, but the analysis also gives a superficial account of the activity concerning the development of indigenous worship music in Garhwal.